Designs for every tradition.
One for your wedding.

Set like the printed order you are handed in the pew. Cobalt and brass on paper.

The contract as the keepsake. Emerald ink on unbleached paper, no figures.

The dot grid drawn at the threshold each morning, resolving into line as you read.

Warm monochrome, photographs given the whole page and the words kept small.

Backwater green and brass, for a wedding held where the water meets the palms.

Bone on bone. The only ornament is the edge of the paper.

Warm browns and undyed linen, for a wedding held outdoors and in daylight.

Indigo night, marigold light. For a sangeet that runs until morning.

Kumkum red against peacock green, bordered like the silk it is named for.

The folded red-and-gold card, read top to bottom in the order the days fall.

Framed in sandstone arches, the way a Jaisalmer balcony frames the street below.

Crimson and leaf gold, bordered heavily, the way a palace card is printed.

Turmeric and ink, block-printed, unrolling like the card it is named for.

Ivory and wine, the way a palace card is printed. Gold used sparingly.

Blush laid paper, a scalloped fold, and a wax seal struck with your initials.

Olive velvet, embossed and sealed in gold. The invitation opens rather than begins.

Eight-fold lattice, emerald and gold leaf. Built to be beautiful without photographs.

Brocade plum and antique gold, woven the way the silk it is named for is woven.

Near-black and bone. Hairline rules, no ornament, nothing that is not the photograph.

Plum velvet and gold, lit low. For a wedding that begins after dark.

Near-black and clay, graded like a film still. The photographs carry it.